Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at

**Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it.[AK]

CON
McGINLEY’S. AKA and see “Baintreach Mná” (The Widow), “The Limerick Lasses [2],” “The Merry Wives (Highland),” “Over the Bridge to Beeta,” “Over the Bridge to Betty,” “Ríl
Shingil Pheadair Uí Ighne” (Peter Hyne’s Single Reel). Irish, Reel. Ireland,
County Donegal. D Major. Standard tuning. AA’BB’. A reel popular in Donegal
where it is usually called “Con McGinley’s,” although it is also known in that
county as“Baintreach Mná” (The Widow)
and “Ríl Shingil Pheadair Uí Ighne” (Peter Hyne’s Single Reel)—James Byrne
called it by the latter title but also recorded it as “Con McGinley’s”. A
version of the tune appears in Fr. Luke Donnellan's publication in the 1909
edition of the Journal of the County
Louth Archaeological Society (JCLAS). Dermot McLaughlin, in his notes for
James Byrne’s recording, mentions a similarity to a Scottish reel, "Lord
Dunrale” (Lord Doneraile?), found in a 19th century collection from
County Tyrone. Mick Brown believes Ed Reavy composed his “Merry Wives” Highland
based on “Con McGinley’s.” Claddagh CC52CD, James
Byrne – “Road to Glenlough.” Virgin CDV2796, Altan – “Blackwater.”

CONCERT OU LA SABATINE, LE.French, Country Dance (6/8 time). F Major. Standard
tuning. AABBCCDD. From the contradance book (tunes with dance instructions) of
Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in
Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782.
According to Belgian fiddler Luc De Cat, at the time of the publication of his
collection (1757) Daubat was a dancing master in Gent and taught at several
schools and theaters.He also was the
leader of a choir and was a violin player in a theater. Mr. De Cat identifies a
list of subscribers of the original publication, numbering 132 individuals, of
the higher level of society and the nobility, but also including musicians and
dance-masters (including the ballet-master from the Italian opera in London).
Many of the tunes are written with parts for various instruments, and include a
numbered bass. Daubat (Cent Contredanses
en Rond), 1757; No. 6.

CONCERT REEL [4], THE. AKA and see “Callaghan’s (Reel) [3],” “Denis Murphy’s (Reel) [1],” “Doon Reel [4],” “Now She’s Purring,” “O’Callaghan’s Reel.” Irish, Reel.
Philippe Varlet says that Kerry fiddler Denis Murphy recorded it under the
title “The Doon” on a 78 RPM recorded in the United States in the 1940’s (there
are several tunes with that title, however). Later Murphy gave the title for
the tune as “Now She’s Purring” by which name it appeared in the magazinge Treoir
in 1975. Martin Mulvihill noted in his collection that Kerry fiddler Padraig
O’Keeffe, Murphy’s tutor, called the tune “Now She’s Purring” (although this
may simply have been O’Keeffe’s comment of satisfaction when the music “hit the
groove.”). Stockton’s Wing (1st album).
Shanachie 34009, “Frankie Gavin with Alex Finn.”

CONCERTINA HORNPIPE, THE. AKA and see “The Bank of Turf [2]," “The Blacksmith’s Charm.” Irish,
Hornpipe. From the playing of fiddler John Kelly Sr., who also recorded the
tune under the title “The Blacksmith’s Charm.” See also the related “Ewe wi’
the Crooked Horn.” Breathnach (Folk Music
and Dances from Ireland), 1971; 26.

CONCERTINA REEL, THE. AKA and see “The Old Concertina Reel [1],”
“Ríl Liam.” Irish, Reel. G Major (Mitchell): D
Major (Breathnach, Mallinson, Tubridy). Standard tuning. AABB (Mallinson,
Tubridy): AA’BB’ (Breathnach, Mitchell). The concertina was invented by
Sir Charles Wheatstone in 1829, a free-reed instrument whose reeds were made of
brass and later steel. The English concertina gives the same note per button,
push or pull, while the Anglo concertina plays a different note on the push and
pull. Willie Clancy declared
he had this tune from his mother, a concertina player and singer from
Ennistymon (Mitchell). There is some confusion about the title “The Old
Concertina Reel,” which sometimes refers not only to “The Concertina Reel” but
also to a different tune also known as “John Kelly’s” and “The Kerry Reel.” The
“Concertina Reel” is therefore sometimes called “The New Concertina Reel.” Some
Scottish versions of the melody are set in the key of ‘A’ major, although Irish
ones are usually in ‘D’. Source for notated version: piper Willie Clancy
(1918-1973, Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRE II), 1976; No. 210 (appears as “Gan
ainm/No title”). Breathnach (CRÉ II),
1976; Nos. 210, 220 & 275 (last appears as “Gan ainm/No title”). Mallinson
(Essential), 1995; No. 43, pg. 19.
Mitchell (Dance Music of Willie Clancy),
1993; No. 72, pg. 71. Tubridy (Irish
Traditional Music, Book Two), 1999; pg. 18. Patrick
Street. Smithsonian Folkways SFW CD 40126, Rodney Miller– “Choose Your Partners!: Contra Dance &
Square Dance Music of New Hampshire” (1999). Chieftains – “Water from the Well”
(appears as 2nd tune of Kilfenora set).

X:1

T:Concertina Reel

M:4/4

L:1/8

K:G

g2fg g2fg | g2fg ed^cd| edfd edfd |
edfd ed^cd|

g2fg g2fg| g2fg edBA|Bdef g2ge|dBAB
G4:|

|:Bdd2 edd2|Bdd2 edd2| edfd
edfd|edfd ed^cd

|Bdd2 Bdd2|Bdd2 edBA|Bdef g2ge|dBAB
G4:|

X:2

T:Concertina Reel

L:1/8

M:C|

K:D

FG|A2 FA BAFA|A2 FA BAFA|B2 cA
BAcA|BAcA BAFA|

A2 FA BAFA|(3ABA FA BAFE|FABc d3B|AFEF
D2:|

|:d|Ad d2 Ad d2|Ad ~d2 BAFA|B2 cA
BAcA|BacA BAFA|

Ad d2 Ad d2|Ad ~d2 BAFE|FABc
d3B|AFEF D3:|

X:3

T:The Concertina

M:4/4

L:1.8

B:Ho-Ro-Gheallaidh Vol.2

K:A

f|e2 ce fece|e2 ce fece|fege
fege|fege fece|

e2 ce fece|e2 ce fece|cefe a2
af|ecBc A3:|]

f|ea (3aaa ea (3aaa|eaae fece|fege
fege|fege fece|

ea (3aaa ea (3aaa|eaa^g a3 f|e2 ce
faaf|ecBc A3:|]

CONCHUBHAR MHAC
COIREIBHE (Conor Macareavy). AKA and see "Girls, have you seen George?"
(A chilini, an bhfaca sibh Seoirse?," "Sgaruint na gCompanach" (The Parting of Friends). Irish, Air
(4/4 time). B Minor. Standard tuning. AA'B. Composition of the melody has been
credited to Lyons, in 1700. The tune is also found, states O'Sullivan (1983),
in Neals Celebrated Irish Tunes (c.
1726, pg. 18) and Mulholland's Ancient
Irish Airs (c. 1810, No. 36). One of O'Carolan's best poems, the elegy on
the death of his wife, Mary Maguire, is said to have been written to this tune.
Source for notated version: Bunting noted the tune from Hempson at Magilligan
in 1792. O'Sullivan/Bunting, 1983; No. 11, pgs. 16-17.

CONE’S FAVOURITE.Irish, Jig. A version of “Tatter Jack Walsh” collected by Brendan
Breathnach. Jackie Small suggests the title may be associated with Galway
fiddler and composer Tommy Coen.

CONFAB BETWEEN A QUAKER AND A SECEEDER, A
(SUPPOSED).Scottish, Air (whole time). G Major.
Standard tuning. AABB. A Seceeder was a breakaway branch of the Presbyterian
church, formed when the Church of Scotland attempted to enforce laws that
deprived a congregation of selecting their own minister. A confab was a casual
talk, a conversation. Gow (Sixth Collection of Strathspey Reels), 1822;
pg. 26.

CONFEDERACY, THE. AKA and see "Glen Morisone's Reell,"
"Ye're Welcome Charlie
Stewart." English, Scottish; Reel. England, Northumberland. D Major.
Standard tuning. AABB. The tune appears in the David Young 1734 Duke of Perth Manuscript (also called
the Drummond Castle Manuscript
because it is in the possession of the Earl of Ancaster at Drummond Castle). It
appears as "The Confederalecy" in William Vicker's original 1770
Northumbrian dance tune MS. (Seattle). Seatlle (William Vickers), 1987, Part 2; No. 322.

CONNABERRY REEL, THE. The title appears in a list of tunes in his
repertoire brought by Philip Goodman, the last professional and traditional
piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach,
1997).

CONNAUGHT JIG, THE. AKA and see Bayard's (1981) untitled tune No.
534 (pg. 476) collected in southwestern Pa. His source said it was more played
by fifers as a march than by fiddlers as a jig. Bayard speculates there may be
some distant relationship between this tune and the better known "Connaughtman's Rambles," though to
my ear the Harding's All Round
version is actually quite similar. Connaught was one of the five old provinces
of Ireland (along with Ulster, Leinster, Meath, and Munster), named for the
ancient tribe who lived there, the Connachta.
Harding's Original Collection, 1928;
No. 100 (untitled jig). Harding's All‑Round
Collection, 1905; No. 175.

CONNAUGHT MOTHER’S SLUMBER SONG, THE. Irish, Air (4/4 time). G Major.
Standard tuning. AABB. O’Neill (1922) says: “Not the least charming of
the many airs and dance tunes, for which we are indebted to our liberal San
Francisco contributor, Francis E. Walsh, is the fines Slumber Song above
printed. It is an old strain of which variants under divers names gained wide
circulation. Who hasn't heard the one time popular ballad about ‘my Love Nell
from the Cove of Cork’ and her inconstancy. ‘Mary of Blackwater Side’ one of
the numbers in Joyce's Old Irish Folk
Music and Songs, Dublin 1909, betrays a similar origin.” Source for notated version: Francis E. Walsh
(San Francisco) [O’Neill]. O’Neill (Waifs
and Strays of Gaelic Melody), 1922.

X:1

T:Connacht Mother's Slumber Song, The

M:4/4

L:1/8

S:Francis E. Walsh, San Francisco

Z:Paul Kinder

R:Air

K:G

"Moderato cantabile"B,D|E2 E2 E2 DE|G2 G2 A3
G/2A/2|

B2 {cB}AG E2 DC|D6 B,D|

E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:|

|:Bc|d2 B2 B2 AG|A2 A2 A2 GA|B2 AG E2 DB,|D6 B,D|

E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:||

CONNACHT OUTCRY, THE (Gair Connactac). Irish, March (4/4 time). G Major.
Standard tuning. One part. Connaught was one of the five old provinces of
Ireland (along with Ulster, Leinster, Meath, and Munster), named for the
ancient tribe who lived there, the Connachta.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1848, pg. 248.

CONNEMARA
JIG. AKA and see “Rouse It,” “Top
it Off.” Irish, Hop Jig. D Major. Standard tuning. AABB. The tune was
printed in Levey’s 1st collection (1858, No. 100). Levey printed it
again in his second collection (1873), this time under the title “Rouse It,” in
the key of F.

CONNEMARA
SKIES. Irish, Hornpipe. D Major. Standard
tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed
Reavy (1898-1988). The name Connemara derives from the
name of the ancient tribe who lived in that area of Ireland,
the people of Con mac na Mara. The tune name itself is taken (along with its
companion piece) from a line by Yeats: “Full of Munster
grass and Connemara skies.” Reavy (The Collected Compositions of Ed Reavy), No. 99, pg. 112.

CONNEMARA
STOCKINGS. AKA and see “Boston Rattlers’,” “Hobb’s Favorite,” "The Galway Reel [1],” "Winter Apples [2]." Irish, Reel.
G Major. Standard tuning. AB. The name Connemara derives
from the name of the ancient tribe who lived in that area of Ireland,
the people of Con mac na Mara. Connemara’s coastline was
for ages the scene of much smuggling, with deep and winding inlets leading
directly to the feet of highland tracks, and perfect for concealment. The
famous smuggler Captain George O’Malley, himself the son of a smuggler, was
born in 1786 near Ballynakill in the remote north-western corner of Connemara.
So lucrative was the smuggling trade that when roads were finally built into
the region from Galway, opening it up to commerce but
also to the forces of the law, they were blamed for the economic decline of the
area (Ciaran Carson, Last Night’s Fun).
See also P.W. Joyce’s “Typrid Lasses,” a
close variant. Bulmer & Sharpley (Music
from Ireland),
1974, vol. 2, No. 4. Roche Collection,
1982; vol. 1, pg. 60, No. 151. Taylor
(Crossroads), 1992; No. 31, pg. 23. Green Linnet SIF1035, Brian Conway & Tony De Marco -
"The Apple in Winter" (1981. Learned from a Hames Morrison
recording). Rounder CD7018, Frank Ferrel - “Boston
Fiddle: The Dudley Street
Tradition.” Castle Ceili Band - “A Way
for Ireland.”

CONNEMARA
WEDDING, THE. Irish, Air or March? (4/4 time). G
Major/Mixolydian. Standard tuning. AB. The name Connemara
derives from the name of the ancient tribe who lived in that area of Ireland,
the people of Con mac na Mara. Stanford/Petrie (Complete Collection), 1905; No. 565, pg. 143.

The tune appears in Petrie’s
collection under the titles “Banish Misfortune or Mary of Inistuirk” (“Banish
Misfortune [2]"), an air collected from a fiddler in London, and as the
jig “The Bacagh of the Wattle”
from Galway piper Paddy Connely, collected in 1840.

***

The tune was recorded by flute
player John McKenna (1880-1947) and banjo player Michael Gaffney (d. 1972),
both originally from County Leitrim, for Decca in 1934, following the slip jig
“Dever the Dancer.” McKenna and
Gaffney were fast friends, remembers McKenna’s daughter Catherine, who told
Harry Bradshaw and Jackie Small that she could not remember a week that Gaffney
was not in her father’s house playing his banjo or rehearsing new numbers with
the flutist for recordings, dances, weddings and other events they had booked.
Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn,
Doocastle, Co. Sligo) [Flaherty]. Breathnach (CRÉ 1), 1963; No. 29. Flaherty (Trip
to Sligo), 1990; pg. 145. O'Neill (O’Neill’s
Irish Music), 1915; No. 192, pg. 104. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 794, pg. 148.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 67, pg. 27. Decca Records,
John McKenna & Michael Gaffney (1934).

CONOR STONE, THE. Irish, Reel. D Major. Standard tuning. AABB’. Composed by fiddler and pianist Josephine
Keegan (b. 1935), of Mullaghbawn, south County Armagh. Named for a decorated
beach-rock given to her as a present from one of her grandsons. Keegan (The
Keegan Tunes), 2002; pg. 39.

CONQUEST, THE. English, Country Dance Tune. D Major. Standard
tuning. AABB. The dance was originally published in Samuel, Ann and Peter
Thompson’s Twenty Four Country Dances (London, 1781) and later in Thompson’s
Compleat Collection, vol. 5 (London, 1788). Source for notated version: the
music manuscript of Captain George Bush (1753/-1797), a fiddler and officer in
the Continental Army during the American Revolution [Keller]. Keller (Fiddle
Tunes from the American Revolution), 1992; pg. 15.
X:1

CONSPIRACY REEL, THE. Irish, Reel. G Major. Standard tuning. AABB.
An early composition by New York Irish-American musician Joanie Madden, of the
group Cherish the Ladies. Black (Music’s
the Very Best Thing), 1996; No. 22, pg. 11.

CONSTANCY. American, Country Dance Tune (2/4 time). G Major. Standard tuning.
AABB. Kate Van Winkler Keller says the tune was unknown in British sources (unusual
for the time), but appears in American country dance sources into the 19th
century. A note in Sweet (1964) indicates the melody is from the Beck Manuscript, an 18th
century New England flute MS of one Henry Beck (1786). It was first printed
publically in The Village Fifer (Exeter, N.H.) in 1808. Sources for
notated versions: the music manuscript of Captain George Bush (1753?-1797), a
fiddler and officer in the Continental Army during the American Revolution
[Keller]; Beck MS [Sweet]. Keller (Fiddle Tunes from the American Revolution),
1992; pg. 22. Sweet (Fifer’s Delight),
1964/1981; pg. 65.

X:1

T:Constancy

M:2/4

L:1/8

K:G

DG FG | A/B/c/A/ BG | dB/d/ cA/c/ |
BG/B/ A2 | DG FG | A/B/c/A/ BG |

dc/B/ AG | FE D2 :: Bc d2 | B/c/d/B/
cB | AB c2 | A/B/c/A/ BG |

dB/d/ cA/c/ | BG/B/ A2 | de/f/
g/e/d/c/ | BA G2 :|

CONSTANT BILLY. English, Morris Dance (6/8 and duple versions). A Major (Bacon &
Raven‑Adderbury, Oddington & Wheatly versions; Williamson): F Major
(Bacon‑Bidford): G Major (Bacon‑Bucknell, Eynsham, Field Town,
Headington, Ilmington, Barnes, Kershaw MS, Longborough & Sherborne,
Mallinson‑Adderbury and Headington versions): B Flat Major (Bacon‑Bampton).
Standard, though Williamson suggests GDgd, tuning. AB (Barnes): AAB, x6
(Adderbury, Bampton, Bucknell versions): AABB, x4 (Headington version): AABB
(Kershaw, Williamson): ABABABA (Bacon‑Bidford). Robin Williamson (1976)
reports that the tune appears to be a close variant of a Scots tune called
"Cia Mar Is Urra Sinn Fuirreach O'n Dram" (How Shall We Abstain from
Whiskey). The melody was written in the early 18th century by John MacMurdo
of Kintail; it was published in Scotland (MacMurdo emigrated at some point to
America), where it was thought to have been Irish in origin and called "The Legacy" until Captain Simon Frazer
pointed out its true origins in his late 18th century-collected “Airs and
Melodies of the Highlands of Scotland.”The tune was very popular all over England and became a morris standard,
being set to a variety of dances. Cotswold morris versions are numerous and
come from the areas of Adderbury, Bampton, Bidford, Bucknell, Eynsham, Field Town
(Leafield), Headington, Ilmington, Longborough, Oddington, Sherborne and
Wheatley. In modern times the tune is usually played in the key of G Major to
accommodate the ubiquitous morris melodeon. There is a "Constant
Billy" in the third volume of Playford's Dancing Master, which
Kidson (1922) identifies as a late 17th century song found on half‑sheet
music beginning:

***

When the hills and lofty mountains

And the vales were hid in snow.

***

Morris dancers traditionally sing
these words while walking in a circle as a preamble to the dance proper:

CONSTANT COUPLE, THE.English, Country Dance Tune (2/4 time). D Major (Barnes). Standard
tuning. AB. The melody is contained in the H.S.J. Jackson manuscript (1823,
Wyresdale, Lancashire), in the key of ‘C’. The
Constant Couple was a stage satire written by George Farquhar (1677-1707)
in 1699, one of his biggest hits. The New York debut of the play was in 2007.
Farquhar abandoned his studies to take to the Dublin stage, but after only a
season he abandoned acting after severely wounding a fellow actor in an on-stage
fencing scene when he forgot to exchange his sword for a foil. He soldiered for
a time in Ireland, but had early success with his first play, Love and a Bottle, produced at Drury
Lane when Farquhar was aged but 20. The
Constant Couple was his next work, and was more favourably received than
the first; it was popular for a century. Callaghan (Hardcore English), 2007; pg. 33.

CONSTANT LOVER, THE. AKA – “The Faithful Swain.” English, Country Dance
Tune (cut time). F Major. Standard tuning. AABB. Published by John Walsh (Sr.)
in London in 1710 in his New Country Dancing Master, 2nd
Book. It is one of the 120 compositions of dancing master Nathaniel
Kynaston (1683-1757) that Walsh printed in several volumes. Although very
little is known about him, Kynaston appears to have been active from 1705 to
about 1722 in the Shropshire/Wales border area. Walsh published some 120 of
Kynaston’s tunes and dances over several publications. The Selattyn parish register
in Shropshire records that a “Nathanial Kynaston, gent.,
& Mrs. Elizabeth Davies, both of Oswestry” married on August
25th, 1719—although whether this was the dancing master
is unknown. Kynaston appears to have been a not uncommon name in Shropshire,
and the family includes Sir Humphrey Kynaston, a notorious 16th
century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury.
“The Constant Lover” also appears in Walsh’s Second Book of the Compleat Country Dancing Master (London, 1719),
and John Young’s second volume of the Dancing
Master beginning in 1713 and in subsequent editions until the last of the
series, in 1728. There are other 18th century tunes, musically
unrelated, that share the title. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 22.

CONSTANTINE
HORNPIPE. Irish, Hornpipe. From the Goodman
manuscripts (vol. 3, pg. 96, c. 1860’s, southeast Munster),
wherein another version also appears, under the title “Man of War.” Yet another version appears in CRÉ V under the title “Micky Connell’s Hornpipe.”

CONSTITUTION HORNPIPE
[3]. AKA and see "Farewell, Mary Ann," "Old Viole." Old‑Time, Breakdown. USA,
Kentucky. The tune, not related
to version #1, has been collected in Anderson County,
Kentucky, under this title. Close relatives
of this tune are a Tennessee/Alabama tune by the name "Farewell Mary
Ann," and another Kentucky tune (from Grant County) recorded by fiddler
Frank Miller in 1929 with the Blue Ridge Mountaineers by the title "Old
Voile."

CONTENTED FARMER, THE. English, Jig. G Major. Standard tuning. AABB.
The melody was first published in Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773). It was included by Northumbrian musician
William Vickers in his manuscript collection, begun in 1770. Matt Seattle says
this tune is "recognizably 'Happy
Farmer' (c.f. Northumbrian Pipers'
Tune Book, 1970), but with noticeable differences." There is an
earlier, different tune, also called the “Contented Farmer” or “Contented
Country Farmer” that appears in ballad operas and on song sheets and in some
dance collections. Seattle (William
Vickers), 1987, Part 2; No. 234. Thompson (Compleat Collection of
200 Favourite Country Dances, vol. 3), 1773; No. 178.

CONTENTMENT IS WEALTH ("Is Ionmus an Sagarlacd" or "Is
Saidbreas An Sastacd). AKA and see “The Golden
Keyboard [2].” Irish, Double Jig. A Minor. Standard tuning. AABBCC. Bayard
identifies this tune as an offshoot of the old tune "Lumps of Pudding(s) [2]." As
to the title, the Scots national poet Robert Burns wrote a song to the air
called "ContentedWi'
Little," which may or may not apply. Bruce Olson believes it may have
derived from a line in the second verso of the song “(Come) haste to the
wedding (ye friends and ye neighbors),” which goes:

***

We boast of no wealth but contentment and health,

***

The melody has been a favourite jig
at Irish sessions in New York
(where it is played in E Minor) and was recorded by fiddler Hugh Gillespie in
the 1930’s. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 729, pg. 136. O'Neill (Dance Music of Ireland:
1001 Gems), 1907/1986; No. 28, pg. 21. Edison
51041 (78 RPM), John H. Kimmel (accordionist from N.Y.C.), 1922. Smithsonian
Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002. Learned
from an old tape of Andy McGann playing solo at an informal New
York house session).

CONTERALLER'S RANT. Scottish, "Strathspey Reel." The dance figure, not the tune,
is found in the Menzies MS (1749) contained in the Atholl Collection of the
Sandeman Library, Perth. It is the
first recorded reference to the form strathspey.

CONTRA DANCE [1], THE (La Contredanse). French-Canadian, Set Dance (2/4
time). D Major. Standard tuning.AA'BB'CC'A"A"'B"B"'C"C'". The 'A' part
contains the usual eight measures, while the 'B' part has seven measures and the
'C' part only six. Source for notated version: French-Canadian accordion great
Philippe Bruneau (1977), who learned the tune from William Gagnon de
Chicoutimi, Québec [Begin]. Begin (Philippe
Bruneau), 1993; No. 50, pgs. 75-76.

CONTRADICTION (REEL), THE ("An Friotraideacd," “An Frithrá” or
"Cor an Breagnugad"). AKA and see “Miss Gunning’s Delight,” “Miss Gunning’s Fancy (Reel),”
"Miss Gunning's Reel."Scottish (originally), Canadian, Irish;
Reel. Canada, Cape Breton. A Major (most versions): G Major (Breathnach/CRÉ V). Standard tuning. ABCD (O’Neill):
ABCCD (Cranford): AA’BB’CC (Breathnach). Paul Cranford (1994) suggests “The
Contradiction” is a 19th century Irish-American title for an older tune by the
Scottish composer William Marshall (1748-1833), who
published it as a three-part setting (O’Neill’s ‘A’, ‘B’ & ‘D’). The fourth
part was added in the 1884 Boston publication Ryan’s Mamouth Collection and repeated by O’Neill at the beginning
of the 20th century. Cranford states that the four-part version was preferred
in Cape Breton by influential early-to-mid-20th century fiddlers Angus
Chisholm, Dan R. MacDonald, and Winston Fitzgerald, and thus to modern Cape
Breton musicians. O’Neill (1922) calls the reel a variation of “Miss Gunning’s
Delight,” also called “Miss Gunning’s Fancy” and “Miss Gunning’s Reel,” {itself
attributed by Brendan Breathnach to Marshall; there is a fascinating story
about the Gunning sisters (see “Miss Gunning’s Fancy”)}.
The great Sligo-born fiddler Michael Coleman recorded a three-part version of
the reel, communicates Philippe Varlet, with fiddler Tom Gannon in 1922 for the
New Republic label (it appears as part of a medley, and only the first tune,
“The Prohibition,” is mentioned on the record label). Varlet also has a couple
of private recordings of it made by Philadelphia/County Cavan fiddler Ed Reavy
with his friend Neil Dougherty during the 1950’s. Editor Jackie Small (CRÉ V) states: “In almost all settings
the tune has a very wide range, far beyond the first position on the fiddle.
The version here is simpler by far, within the first position, and almost
within the range attainable on the whistle or pipes—there is only the odd extra
note for those wind instruments and musicians are long accustomed to overcome
small problems like that. The version here is quite close to the first setting
in O’Neill/Waifs, the basic setting of the tune, which O’Neill got in Aird’s Selection.” Source for notated version:
manuscripts in the possession of Chicago Police Sergeant James O’Neill,
originally from County Down—many from the playing of his father [O’Neill];
Aird’s Selection [O’Neill/Wiafs].
Breathnach (CRÉ II), 1976; No. 135,
pg. 73 (appears as “Gan ainm/No title”). Breathnach (CRÉ V), 1999; No. 161, pg. 79. Cranford (Brenda Stubbert’s), 1994; No. 12, pg. 5. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1503, pg. 278. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 724, pg. 127.O’Neill (Waifs
and Strays of Gaelic Melody), 1922; No. 215. Ryan’s Mammoth Collection, 1883; pg. 54. Shanachie
79064, Matt Molloy – “Heathery Breeze” (1999).

CONTRIVANCE, THE.Scottish, Air (68 time). A Major. Standard tuning. AABB. The melody is
attributed by Nathaniel Gow to John MacDonald of Dundee (a dancing master who
also composed “Memory of Joys
that are past” and “Maids of Arrochar”).
Gow (Sixth Collection of Strathspey Reels), 1822; pg. 18.

CONUNDRUM, THE. Scottish, March (2/4 time). A Major. Standard
tuning. AA'BB'. A pipe march frequently played at Scottish sessions. Composed
by Peter Macleod (Jr.), a giant of early-mid 20th century Great
Highland Pipe composing and teaching, many of whose tunes are in traditional
repertoire today. A story is told about the tune that may or may not be true.
It seems that Macleod migrated to Glasgow where there was work to be found in
the great shipyards of the city, but had the misfortune to suffer an accident
that resulted in the loss of a leg. The tune's unusual rhythm is said to mimic
his marching gait when equiped with a wooden leg, and the tune’s title reflects
Macleod’s difficulties keeping to march rhythm with a pronounced limp. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 26. Culburnie Records CUL102c, Alasdair Fraser & Jody
Stecher – “The Driven Bow” (1988).

CONVENIENCE, THE. AKA and see “The Knock on the Door,” “McDonagh’s.” Irish, Reel. D Major. Standard
tuning. ABCC (Songer): ABB’C (Mallinson): AABBCC (Taylor): AA’BB’CC
(Taylor/Tweed). The title refers to a ‘convenience’, a throne, crapper, toilet,
loo, etc., from which derives the (impatient) alternate title "Knock on
the Door." There is some confusion about which part is supposed to come
first in this tune. Susan Songer (who gives the tune’s provenance as Scottish)
remarks that this tune was for many years the signature tune of the Seattle
Irish traditional band The Suffering Gaels. Karen Tweed remarks the tune was
“extremely popular in sessions in the early ‘80’s.” Sources for notated
versions: Uncle Gizmo (Massachusetts) [Songer]; French fiddler Vincent Blin
[Taylor/Tweed]. Mallinson (Essential),
1995; No. 30, pg. 14. Songer (Portland
Collection), 1997; pg. 53. Taylor (Where’s
the Crack), 1989; pg. 9. Taylor (Traditional Irish Music: Karen Tweed’s
Irish Choice), 1994; pg. 16.DMPCD 9401, Karen Tweed – “Drops of Springwater” (1994).